Charlotte "Charlie" Newton and her parents live in very quiet Santa Rosa, California. An unexpected visit by Charles Oakley, her charming and sophisticated "Uncle Charlie", brings much excitement to her family and the small town. That excitement turns to fear as young Charlie slowly realizes her uncle is in fact a wanted serial murderer known as the "Merry Widow" killer. The fear escalates when Oakley realizes she knows his secret.
In 1991, the film was selected for preservation in the United States National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant".[3][4] The film was also Alfred Hitchcock's favorite of all of his films.[5]
Plot
Charlotte "Charlie" Newton is a bored teenage girl living in the idyllic town of Santa Rosa, California. She receives wonderful news: Her mother's younger brother (her eponym), Charles Oakley, is arriving for a visit. Upon his arrival, everyone is delighted, especially young Charlie. As a gesture of affection, Uncle Charlie gives his niece an emerald ring. However, she notices that it has someone else's initials engraved inside.
Not long afterward, two men appear at the Newton home, trying to take Uncle Charlie's picture. Young Charlie guesses they are undercover police detectives. One of them explains her uncle is one of two suspects who may be the "Merry Widow Murderer". Charlie refuses to believe it at first, but learns that the initials engraved inside the ring he gave her match those of one of the murdered women. She then notices Uncle Charlie begin to act strangely.
During dinner one night, Uncle Charlie lets his guard down and reveals his hatred of rich widows. He describes them as "fat, wheezing animals". Horrified, young Charlie runs out of the room. Uncle Charlie follows and takes her into a seedy bar. He admits he is one of the two murder suspects. He begs her for help; she reluctantly agrees not to say anything, as long as he leaves soon to avoid a horrible confrontation that would destroy her mother, who idolizes her younger brother.
News breaks that an alternative suspect was chased by police and killed by an airplane propeller; it is assumed that he was the murderer. Uncle Charlie is delighted to be exonerated, but young Charlie knows all his secrets. Not long afterward, she falls down some dangerously steep stairs, which she later discovers were deliberately cut through.
After his supposed exoneration, Uncle Charlie indicates that he wants to settle down in Santa Rosa. Young Charlie says she will kill him if he stays. Later that night, Uncle Charlie lures her into the garage, starts the car engine, and jams the door so that the garage will fill with exhaust fumes. A friend happens to come by the house, hears Charlie banging on the garage door, and rescues her.
Uncle Charlie soon announces he is leaving for San Francisco – along with Mrs. Porter, a rich widow. At the train station, young Charlie boards the train, claiming to want to see Uncle Charlie's compartment. He plans to shove his niece out of the train after it picks up speed. A struggle between them ensues, and Uncle Charlie – the "Merry Widow Murderer" – loses, falling in front of an oncoming train.
At his funeral, Uncle Charlie is sentimentally honored by the townspeople. The detective returns, and Charlie confesses that she withheld crucial information. They resolve to keep Uncle Charlie's crimes a secret.
Cast
Promotional portrait of Teresa Wright for Shadow of a Doubt, the film for which she received her first top billing
Teresa Wright as Charlotte "Charlie" Newton who initially idolizes her loving uncle. Wright was given the screenplay, and pursued the role of Charlie due to her adoration of Hitchcock's work.[6]
Joseph Cotten as Charles "Uncle Charlie" Oakley. Cotten had a previously established relationship with Hitchcock which may have helped him get the role in the film.[6]
Henry Travers as Joseph Newton, Young Charlie's father, who loves to read crime stories.
Patricia Collinge as Emma Newton, Young Charlie's mother and Uncle Charlie's sister. Emma was named after Hitchcock's mother, who died during production of the film.[6]
Hume Cronyn as Herbie Hawkins, a neighbor and crime fiction buff. He discusses ideas for the perfect murder with Charlie's father.
Edna May Wonacott as Ann Newton. Wonacott was chosen for the role of Ann Newton by Alfred Hitchcock while they were waiting for a bus. She had no previous acting experience, and had to be coached by Hitchcock's daughter between takes.[6] Wonacott had received a seven-year contract with a film studio, and Hitchcock believed she would have a successful acting career.[7]
Alfred Hitchcock appears about 16 minutes into the film, on the train to Santa Rosa, playing bridge with Doctor and Mrs. Harry. Charlie is traveling on the train under the assumed name of Otis, and is lying down due to a migraine. Mrs. Harry is eager to help him, but her husband is not interested and keeps playing bridge. Doctor Harry replies to Hitchcock that he doesn't look well while Hitchcock is holding a full suit of spades, the best hand for bridge.[8]
Production
Santa Rosa railroad depot in 2010
1905 postcard of the Santa Rosa library
The project began when the head of David Selznick's story department, Margaret McDonell, told Hitchcock that her husband Gordon had an interesting idea for a novel that she thought would make a good movie. His idea, called "Uncle Charlie", was based on the true story of Earle Nelson, a serial killer of the late 1920s known as "the Gorilla Man".
Shadow of a Doubt was both filmed and set in Santa Rosa, California, which was portrayed as a paragon of a supposedly peaceful, small, pre-War American city. Since Thornton Wilder wrote the original script, the story is set in a small American town, a popular setting of Wilder's, but with an added Hitchcock touch to it. In Patrick McGilligan's biography of Hitchcock, he said the film was perhaps the most American film that Hitchcock had made up to that time.
The opening scenes take place in the East Ward (aka the "Ironbound"/"Down Neck" section of Newark, New Jersey). The city skyline and landmarks such as the Pulaski Skyway are featured in the opening shot. The location shots were used to comply with the wartime War Production Board restrictions of a maximum cost of $5,000 for set construction.[9]
An Italianate-style house, built in 1872, was used for exterior shots of the Newton family home. As of 2023, it is still standing, located at 904 McDonald Avenue in Santa Rosa.
The stone railway station in the film was built in 1904 for the Northwestern Pacific Railroad and is one of the few commercial buildings in central Santa Rosa to survive the earthquake of April 18, 1906. The station is currently a visitor center. The library was a Carnegie Library which was demolished in 1964 due to seismic concerns.[10] Some of the buildings in the center of Santa Rosa that are seen in the film were damaged or destroyed by earthquakes in 1969; much of the area was cleared of debris and largely rebuilt.
The film was scored by Dimitri Tiomkin, his first collaboration with Hitchcock (the others being Strangers on a Train, I Confess and Dial M for Murder). In his score, Tiomkin quotes the Merry Widow Waltz of Franz Lehár, often in somewhat distorted forms, as a leitmotif for Uncle Charlie and his serial murders. During the opening credits, the waltz theme is heard along with a prolonged shot of couples dancing.
Cinematography
Theatrical advertisement from 1943
Cinematographer Joseph A. Valentine described his work on the film: "Our Santa Rosa location was chosen because it seemed to typical of the average American small city, and offered, as well, the physical facilities the script demanded. There was a public square, around which much of the city's life resolves. There was an indefinable blending of small town and city, and of old and new, which made the town a much more typical background of an average American town than anything that could have been deliberately designed. The Santa Rosans were very cooperative, and most of our problems in these scenes were the ordinary ones of rigging scrims and placing reflectors or booster lights where they were needed.
The most spectatular part of our work was naturally the making of the night exterior sequences. We had with us two generator sets, ten 150-ampere arc spotlights, and the usual assortment of incandescent lights...making a total of 3,000 ampere maximum electrical capacity. With this we lit up an expanse of four city blocks for our night-effect long shots!....Oddly enough, one of our less spectatular night scenes proved really the harder problem. This was a sequence played around the city's public library. This building is a lovely Gothic structre, almost completely clothed in ivy. I think all of us were surprised at the way those dark green ivy leaves drank up the light. Actually, on our long shots of that single building we used every unit of lighting equipment we had with us—and we could very conveniently have used more if we had had them!....Frequently people who have seen these night scenes of ours have jumped to the conclusion that with such an area to illuminate we must have filmed them by day with Infra-Red film rather than actually by night. If only they'd seen how we worked to finish our night scenes before the Pacific Coast's "dim-out" order [of WWII] went into effect, they'd change their minds. All of our night scenes were filmed actually at night—and we just got under the wire, finishing the last one scarcely a matter of hours before the dim-out became effective."[11]
Reception
Alternate "StyleD" theatrical release poster
Upon release, the film received unanimously positive reviews. Bosley Crowther, critic for The New York Times, loved the film, stating that "Hitchcock could raise more goose pimples to the square inch of a customer's flesh than any other director in Hollywood".[12]Time Magazine called the film "superb",[12] while Variety stated that "Hitchcock deftly etches his small-town characters and homey surroundings".[12] The entertainment trade paperThe Film Daily was yet another reviewer in 1943 that praised every aspect of the production. The publication predicted big “box office” for theaters presenting Hitchcock's latest work, although in its detailed review of Shadow of a Doubt the paper does mistakenly refer to the director's 1941 film Suspicion as "'Suspense'":
Of all the startling feature films directed by Alfred Hitchcock—superman of suspense and wizard of mystery—this one is geared most highly to thrill American audiences and to pour coin into the coffers of U.S. theaters....There are no red herrings yanked across the trail in this attraction, as was the case in his recent hit, "Suspense". The story moves inflexibly toward an ending which the onlooker more or less clearly expects, but which elicits the periodic hope that the worst fears of Teresa Wright will not be realized. ...Production values under Jack H. Skirball are first-rate, as is Joseph Valentine’s photography. There isn’t a shadow of a doubt about this picture’s success.[13]
In a 1964 interview on Telescope with host Fletcher Markle, Markle noted, "Mr. Hitchcock, most critics have always considered Shadow of a Doubt, which you made in 1943, as your finest film." Hitchcock replied immediately, "Me too." Markle then asked, "That is your opinion of it still?" Hitchcock replied, "Oh, no question." At the time, Hitchcock's most recent work was Marnie. When later interviewed by François Truffaut, Hitchcock denied the suggestion that Shadow of a Doubt was his "favourite".[14] But in the audio interview with Truffaut, Hitchcock confirmed it was his favourite film, and later reiterated that Shadow of a Doubt was his favorite film in his interview with Mike Douglas in 1969 and in his interview with Dick Cavett in 1972. Alfred Hitchcock's daughter Pat Hitchcock also said that her father's favorite film was Shadow of a Doubt in Laurent Bouzereau’s 2000 documentary Beyond Doubt: The Making of Hitchcock's Favorite Film.
Today, the film is still regarded as a major work of Hitchcock's. Contemporary critic Dave Kehr called it Hitchcock's "first indisputable masterpiece."[15] In 2005 film critic David Denby of The New Yorker called it Hitchcock's most "intimate and heart-wrenching" film.[16] Based on 48 reviews on the website Rotten Tomatoes, the film has received a 100% approval rating, with a weighted average of 9.20/10. The site's consensus reads: "Alfred Hitchcock's earliest classic— and his own personal favorite— deals its flesh-crawling thrills as deftly as its finely shaded characters".[12] On Metacritic it has a score of 94 out of 100, based on reviews from 15 critics, indicating "universal acclaim".[17] When asked by critics as to an overarching theme for the film Hitchcock responded: "Love and good order is no defense against evil". In his book Bambi vs. Godzilla, David Mamet calls it Hitchcock's finest film.[18] In his 2011 review of the film, film critic Roger Ebert gave the film four stars out of four and included it in his Great Movies list.[19] In 2022, Time Out magazine ranked the film at No. 41 on their list of "The 100 best thriller films of all time".[20]
Sir Alfred Joseph Hitchcock was an English film director. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over 50 feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", Hitchcock became as well known as any of his actors thanks to his many interviews, his cameo appearances in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered 46 Academy Award nominations, including six wins, although he never won the award for Best Director, despite five nominations.
Young and Innocent, released in the US as The Girl Was Young, is a 1937 British crime thriller film directed by Alfred Hitchcock and starring Nova Pilbeam and Derrick De Marney. Based on the 1936 novel A Shilling for Candles by Josephine Tey, the film is about a young man on the run from a murder charge who enlists the help of a woman who must put herself at risk for his cause. An elaborately staged crane shot Hitchcock devised, which appears towards the end of the film, identifies the real murderer.
Suspicion is a 1941 romantic psychological thriller film noir directed by Alfred Hitchcock, and starring Cary Grant and Joan Fontaine as a married couple. It also features Sir Cedric Hardwicke, Nigel Bruce, Dame May Whitty, Isabel Jeans, Heather Angel, and Leo G. Carroll. Suspicion is based on Francis Iles's novel Before the Fact (1932).
Spellbound is a 1945 American psychological thriller directed by Alfred Hitchcock, and starring Ingrid Bergman, Gregory Peck, and Michael Chekhov. It follows a psychoanalyst who falls in love with the new head of the Vermont hospital in which she works, only to find that he is an imposter suffering dissociative amnesia, and potentially, a murderer. The film is based on the 1927 novel The House of Dr. Edwardes by Hilary Saint George Saunders and John Palmer.
Muriel Teresa Wright was an American actress. She won the 1942 Academy Award for Best Supporting Actress for her role as Carol Beldon in Mrs. Miniver. She was nominated for the same award in 1941 for her debut work in The Little Foxes. Also in 1942, she received a nomination for the Academy Award for Best Actress for her performance in The Pride of the Yankees, opposite Gary Cooper. She is also known for her performances in Alfred Hitchcock's Shadow of a Doubt (1943), and in William Wyler's The Best Years of Our Lives (1946).
Strangers on a Train is a 1951 American psychological thriller film noir produced and directed by Alfred Hitchcock, and based on the 1950 novel Strangers on a Train by Patricia Highsmith. It was shot in late 1950, and released by Warner Bros. on June 30, 1951, starring Farley Granger, Ruth Roman, and Robert Walker.
The Paradine Case is a 1947 courtroom drama with elements of film noir set in England, directed by Alfred Hitchcock and produced by David O. Selznick. Selznick and an uncredited Ben Hecht wrote the screenplay from an adaptation by Alma Reville and James Bridie of the 1933 novel by Robert Smythe Hichens. The film stars Gregory Peck, Ann Todd, Alida Valli, Charles Laughton, Charles Coburn, Ethel Barrymore, and Louis Jourdan. It tells of an English barrister who falls in love with a woman who is accused of murder, and how it affects his relationship with his wife.
I Confess is a 1953 American film noir directed by Alfred Hitchcock, starring Montgomery Clift as Catholic priest Father Michael William Logan, Anne Baxter as Ruth Grandfort, and Karl Malden as Inspector Larrue.
Rebecca is a 1940 American romantic psychological thriller film directed by Alfred Hitchcock. It was Hitchcock's first American project, and his first film under contract with producer David O. Selznick. The screenplay by Robert E. Sherwood and Joan Harrison, and adaptation by Philip MacDonald and Michael Hogan, were based on the 1938 novel of the same name by Daphne du Maurier.
Gaslight is a 1944 American psychological thriller film directed by George Cukor, and starring Charles Boyer, Ingrid Bergman, Joseph Cotten and Angela Lansbury in her film debut. Adapted by John Van Druten, Walter Reisch, and John L. Balderston from Patrick Hamilton's play Gas Light (1938), it follows a young woman whose husband slowly manipulates her into believing that she is descending into insanity.
Virginia Lee Gregg was an American actress known for her many roles in radio dramas and television series.
Jeanette Nolan was an American actress. Nominated for four Emmy Awards, she had roles in the television series The Virginian (1962–1971) and Dirty Sally (1974), and in films such as Macbeth (1948).
In 1922, Alfred Hitchcock obtained his first shot at directing for Gainsborough Pictures with the film Number 13 but due to financial difficulties it was never completed.
Hessy Doris Lloyd was a British actress. She is appeared in The Time Machine (1960) and The Sound of Music (1965).
Rose Constance Gilchrist was an American stage, film, and television actress. Among her screen credits are roles in the Hollywood productions Cry 'Havoc' (1943), A Letter to Three Wives (1949), Little Women (1949), Tripoli (1950), Houdini (1953), Some Came Running (1958), and Auntie Mame (1958).
Stoker is a 2013 psychological thriller film directed by Park Chan-wook, in his English-language debut, and written by Wentworth Miller. The film stars Mia Wasikowska, Matthew Goode, Nicole Kidman, Dermot Mulroney, and Jacki Weaver.
Edna May Wonacott is an American former child actress, best known for her role as Ann Newton in the 1943 movie Shadow of a Doubt. The director, Alfred Hitchcock, and film producer Jack H. Skirball handpicked the then-nine year old for the film while she was waiting for the bus. At that time she had absolutely no experience as an actress.
Claire Carleton was an American actress whose career spanned four decades from the 1930s through the 1960s. She appeared in over 100 films, the majority of them features, and on numerous television shows, including several recurring roles. In addition to her screen acting, she had a successful stage career.
Shadow of a Doubt is a 1991 American TV film. It is a remake of the 1943 Alfred Hitchcock film of the same name.
↑ "Reviews Of New Films", Shadow of a Doubt; The Film Daily (New York, N.Y.), January 8, 1943, page 5, columns 3-4. Internet Archive, San Francisco, California. Retrieved August 27, 2018.
↑ Jim McDevitt, Eric San Juan. A Year of Hitchcock: 52 Weeks With the Master of Suspense. ISBN9780810863880. Page 158.
Shadow of a Doubt essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 360-361
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